My latest column in the Christian Courier.
Some years ago, I was introduced to a remarkable piece of music composed by JS Bach—the fifth movement of his Partita in D minor for solo violin (called the Chaconne). As with so many of Bach’s works, the Chaconne easily captures your heart; it has a way of lodging itself in mind and imagination. The piece is by turns pained and playful; dissonant and melodic. It sometimes rushes on almost to the point of stumbling and at other times strides smoothly towards its resolution.
At the heart of the Chaconne is a mystery that may go some way to explaining its compelling nature. The German musicologist Helga Thoene has suggested that it contains a hidden numerical code that references Bach’s wife (Maria Barbara) and the year of her unexpected death. Also, that the piece is built on an intricate musical scaffolding of eleven hymns that all reference the death and resurrection of Christ and invite us to put our trust in God. The Chaconne seems to be bookended by musical echoes of a chorale by Martin Luther and the phrases “Christ lay in death’s bonds” and “Hallelujah”.
As we think about the Chaconne it is important to acknowledge that we are all Romantics—we see artistic expression as tied up with our personal lives and our internal emotional landscapes. We have placed ourselves at the centre of our imaginations and it is difficult for us to conceive a world that is not self-focused in this way. Since Bach predates the Romantic period, however, it is more likely that his music points to something outside of or beyond himself; something universal, rather than something merely personal. The glory of God, the compassion of God, and the hope that is found in Christ. Continue reading